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And Art's Modernity Proceedings of the European Society for Aesthetics Volume 11, 2019 Edited by Connell Vaughan and Iris Vidmar Jovanović Published by the European Society for Aesthetics esa Proceedings of the European Society for Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Connell Vaughan (Technological University Dublin) Iris Vidmar Jovanović (University of Rijeka) Editorial Board Adam Andrzejewski (University of Warsaw) Pauline von Bonsdorff (University of Jyväskylä) Daniel Martine Feige (Stuttgart State Academy of Fine Arts) Tereza Hadravová (Charles University, Prague) Vitor Moura (University of Minho, Guimarães) Regina-Nino Mion (Estonian Academy of Arts, Tallinn) Francisca Pérez Carreño (University of Murcia) Karen Simecek (University of Warwick) Elena Tavani (University of Naples) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l’Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society for Aesthetics Volume 11, 2019 Edited by Connell Vaughan and Iris Vidmar Jovanović Table of Contents Lydia Goehr [Keynote Paper] Painting in Waiting Prelude to a Critical Philosophy of History and Art ................................................................ 1 Lucas Amoriello (Non)Identity: Adorno and the Constitution of Art ...... 31 Claire Anscomb Photography, Digital Technology, and Hybrid Art Forms .................................................................................................... 43 Emanuele Arielli Strategies of Irreproducibility ................................... 60 Katerina Bantinaki, Fotini Vassiliou, Anna Antaloudaki, Alexandra Athanasiadou Plato’s Images: Addressing the Clash between Method and Critique .......................................................................................... 77 Christoph Brunner & Ines Kleesattel Aesthetics of the Earth. Reframing Relational Aesthetics Considering Critical Ecologies ............ 106 Matilde Carrasco Barranco Laughing at Ugly People. On Humour as the Antitheses of Human Beauty ............................................................... 127 Rona Cohen The Body Aesthetic ........................................................... 160 Pia Cordero Phenomenology and Documentary Photography. Some Reflections on Husserl's Theory of Image ....................................... 174 iii Proceedings of the European Society for Aesthetics, vol. 11, 2019 Gianluigi Dallarda Kant and Hume on Aesthetic Normativity ............ 194 Aurélie Debaene Posing Skill: The Art Model as Creative Agent ....... 214 Caitlin Dolan Seeing Things in Pictures: Is a Depicted Object a Visible Thing? ................................................................................................. 232 Lisa Giombini Perceiving Authenticity: Style Recognition in Aesthetic Appreciation ....................................................................................... 249 Matthew E. Gladden Beyond Buildings: A Systems-Theoretical Phenomenological Aesthetics of “Impossible” Architectural Structures for Computer Games .......................................................................... 272 Moran Godess-Riccitelli From Natural Beauty to Moral Theology: Aesthetic Experience, Moral Ideal, and God in Immanuel Kant’s Third Critique ............................................................................................... 319 Xiaoyan Hu The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances ......................................................................................... 339 Jèssica Jaques Pi Idées esthétiques et théâtre engagé: Les quatre petites filles de Pablo Picasso ........................................................................ 375 Palle Leth When Juliet Was the Sun: Metaphor as Play ....................... 399 Šárka Lojdová Between Dreams and Perception - Danto’s Revisited Definition of Art in the Light of Costello’s Criticism .......................... 431 Sarah Loselani Kiernan The ‘End of Art’ and Art’s Modernity .......... 448 Marta Maliszewska The Images between Iconoclasm and Iconophilia – War against War by Ernst Friedrich .................................................. 483 Salvador Rubio Marco Imagination, Possibilities and Aspects in Literary Fiction ................................................................................................. 506 iv Proceedings of the European Society for Aesthetics, vol. 11, 2019 Fabrice Métais Relational Aesthetics and Experience of Otherness .... 522 Philip Mills The Force(s) of Poetry ...................................................... 541 Yaiza Ágata Bocos Mirabella “How Food can be Art?” Eating as an Aesthetic Practice. A Research Proposal ........................................... 556 Zoltán Papp ‘In General’ On the Epistemological Mission of Kant’s Doctrine of Taste ................................................................................ 575 Dan Eugen Ratiu Everyday Aesthetics and its Dissents: the Experiencing Self, Intersubjectivity, and Life-World ................................................ 622 Matthew Rowe The Use of Imaginary Artworks within Thought Experiments in the Philosophy of Art ....................................................... 650 Ronald Shusterman To Be a Bat: Can Art Objectify the Subjective? ... 672 Sue Spaid To Be Performed: Recognizing Presentations of Visual Art as Goodmanean ‘Instances’ .................................................................... 700 Małgorzata A. Szyszkowska The Experience of Music: From Everyday Sounds to Aesthetic Enjoyment ........................................................... 728 Polona Tratnik Biotechnological Art Performing with Living Microbiological Cultures ................................................................... 748 Michael Young Appreciation and Evaluative Criticism: Making the Case for Television Aesthetics ..................................................................... 766 Jens Dam Ziska Artificial Creativity and Generative Adversarial Networks ..................................................................................................... 781 v Proceedings of the European Society for Aesthetics, vol. 11, 2019 The ‘End of Art’ and Art’s Modernity Sarah Loselani Kiernan1 Birkbeck, University of London ABSTRACT. G.W.F Hegel’s ‘end of art’ thesis, as it is commonly called, is often thought to be the most major deterrent to attempts to assimilate modern and contemporary art into the Hegelian system or to understand modern and contemporary art through the lens of Hegel’s aesthetics. This paper dispels such a view and asserts that the Hegelian ‘end of art,’ does not herald a death of art or even an end to art’s developmental history. Instead, it puts forward the original thesis that such a supposition has arisen, at least in part, from the erroneous conflation between the Hegelian ‘end of art’ and the dissolution of the romantic form of art. It argues that the most prominent interpretation of Hegel’s ‘end of art’ as the end of art’s time serving its ‘highest vocation’ ought to overtly locate this phenomenon as occurring much earlier with the dissolution of the classical form of art. This reading has the advantage of construing art as free to progress beyond this ‘highest telos’ and, as such, it is far more conducive to the integration of developments in modern and contemporary art. 1. Introduction It is a great misfortune that Hegel’s aesthetic theory is commonly seen in Anglophone philosophical circles as bearing no applicability to modern art, or worse, is seen as completely implausible, as a result of one of its most perplexing and poorly understood aspects – the so-called ‘end of art’ thesis. 1 Email: [email protected] Proceedings of the European Society for Aesthetics, vol. 11, 2019 Sarah Loselani Kiernan The ‘End of Art’ and Art’s Modernity The Hegelian ‘end of art’ thesis arises from the notorious assertion in Hegel’s Lectures on Fine Art that art ‘considered in its highest vocation, is and remains for us a thing of the past.’2 Outside of Hegelian scholarship, and sometimes within it, this infamous statement is largely taken to mean that Hegel is announcing that a literal ‘death’ of art has already occurred and that no significant works of art will henceforth be created.3 This assumption seems not only outrageous or radical to most contemporary students but also clearly incorrect and almost laughably naive; the sheer volume of art since the nineteenth century is held up as overwhelming evidence against such a claim.4 Consequently, much of the contemporary reception of Hegel’s aesthetic theory does not look far beyond this widely-held interpretation; it seems fruitless to delve into a philosophy of art that meets an immediate refutation in the existence of a richly diverse and influential modern art tradition.5 With this acceptance, it seems only natural to suppose that Hegel’s philosophy is poorly positioned for any constructive engagement with the art of modernity.6 A less extreme reading of this aspect of Hegel’s aesthetics is adopted 2 Hegel’s Aesthetics: Lectures on Fine Art, trans. T.M. Knox (Oxford: Oxford University Press, 1975), 11. 3 William I. Fowkes, A Hegelian Account of Contemporary Art (Michigan: UMI Research Press, 1981), ix. 4 Carl Rapp, “Hegel’s Concept of the Dissolution of Art.” In Hegel and Aesthetics, edited by William Maker (Albany:
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